H 



JUST PLAIN PETER 



3531 
9 J8 
3 
y 1 



By 
JANET PRENTISS 



Missionary Education Movement of the 
United States and Canada 

156 Fifth Avenue New York 



EDITOR'S NOTE 

The Missionary Education A^ovement recognizes the value of 
the dramatic element in religious education, and undertakes to 
cooperate with those desiring to secure full benefits from its use. 

Only those missionary plays will be published by the Missionary 
Education Movement which are especially calculated to serve the 
purposes of religious education. 

Further information may be secured from the denominational 
Mission Boards or the Missionary Education Movement, 156 Fifth 
Avenue, New York. 



IMPORTANT 

Price, $.25 each, postpaid. Six copies are re- 
quired to supply the participants. Orders for 
copies, requests for further information, may 
be secured from the denominational Mission 
Boards or the Missionary Education Move- 
ment, 156 Fifth Avenue, New York. 



COPYRIGHT, igi3, BY 

ISSIONARY EDUCATION MOVEMENT OF THE 

UNITED STATES AND CANADA 



'CI.D S44oG 



JUST PLAIN PETER 



CHARACTERS 

T /T U-' ••( r Italian, immigrant children, alone in a city tenement. 

Lucia (Lu-chi-a) S '^ ' -^ 

Mrs. Reilly, -cuho lives in the same tenement and is a visitor from the mission 

across the street. 

Andromache (An-drom'-a-ki), a Greek child. 

Children, any number desired, from the mission playground. 



Part I. The home of Lucia and Pietro in Italy. 

Part IL A year and a half later. Lucia and Pietro's room in a tenement. 

Part in. Same as Part II. Games. 

Note. — Part I or Part III may be omitted if a more simple program is 
desired. 



PART I 

The scene represents garden of Lucia and Pietro's home in Italy. Walls are 
covered with vines. Trees or large branches stand here and there. 
Oranges, made of orange-colored paper and stuffed with cotton, are tied 
to trees. Flowers, either artificial or potted, represent garden. These may 
he made of paper. Small shrine on wall if desired. 

As the scene opens, children — any number the platform zvill accommodate-^are 
playing Hop-scotch, called " Campana" in Italy. This game ends in a 
few minutes; it is used to show that it is also an Italian game. The children, 
girls and boys, then take places for "Follow Chase," a game found in many 
countries but as here given of Italian origin. The Italian girls wear long, 
bright-colored skirts, colored bodice with -white guimpe and sleeves. Black 
apron with colored border. Head-dress, either black or white, with colored 
ends, one foot long and six inches wide. Boys zvear short jacket. Floppy, 
loose knickerbockers. 

Follow Chase. Those taking part stand in circle with hands resting on each 
other's shoulders, making a wide distance between them. One player is 
runner, one chaser. At signal, the runner weaves in and out between the 
players or dashes across circle, as he sees fit. The chaser follozvs wherever 
he goes. If runner is caught, he joins circle and chaser takes his place, 
choosing another chaser. In the scene the games should be quiet and or- 
derly and practised carefully beforehand. At end of game the boys separate 
and go to corners of room, back, while the girls are singing. 

Any number of little girls with dolls sing Italian cradle song. For words and 
music, see pages 28-31. 

* In giving pronunciation, i = i in machine. 
3 



4 JUST PLAIN PETER 

DORMI, DORMI 

" Dormi, dormi bel bambino, vago figlio del mio cor. 
La tua madre sta vicino, tutta gioia tutt' amor, 
Tu sei mio, si per me sola, sei mio speme mio solo amore, 
Vienio, caro, e mi consola, ch'io per te riviva ancor ancor. 
Dormi, dormi, dormi, dormi." 

English Words of Italian Cradle Song. 

" Slumber, slumber, oh my dearest, lovely offspring of my heart, 
Near to thee thy mother, nearest, oh, her love and joy thou art. 
Wholly mine thou art and only, only mine, my help and love. 
Darling, lest I should be lonely, comfort and console me, love. 
Slumber, slumber, slumber, slumber." 

At end of song, mother and father, Lucia and Pietro cross the room with bundles, 
■ old bags, etc., bound for America. Father wears loose white shirt, colored 
handkerchief knotted round his neck, knee trousers of sheepskin. Mother 
and Lucia wear bright shawls or gay handkerchiefs over their heads. The 
boys and girls surround them crying good-by. They fill Pietro's handkerchief 
with oranges from the trees. Wave hands and handkerchiefs as they go 
out. All cry, " Addio ! Addio ! " (Pronounced "Ad-di'-o.") 

INTERMISSION 

PART II 

Room in a tenement. 

Time: A year and a half elapses between Part I and Part II. 

The setting represents a room in a tenement where Pietro and Lucia live. It is 
small, but scrupulously neat. Cot bed covered with clean but ragged 
counterpane in left corner. A few dishes on chest of drawers at right. 
A kitchen table in center of room, well to the front. Door at left side. 
Window at back with bright cotton curtains. Three old kitchen chairs: 
One at left of table, one by chest of drawers, one by window. 

As scene opens — (a screen may be used) — shouts of children on the mission 
playground just outside are heard. A slight, dark boy of nine but small 
enough to be younger, in a worn suit of clothes, sits by table making arti- 
ficial lowers. Suddenly the children outside begin to sing. (This can be 
any popular song.) At second verse, the boy drops his flowers and runs 
and hangs out the window listening. At the third verse the door opens 
and Lucia, a girl of twelve but small for her age, limps in with two or three 
paper bags and a large cardboard box of artificial flowers carefully tied up. 
She wears the same skirt as in Part /, and a simple white waist with round 
collar. A bright shawl is pinned under her chin. Hair in two neat braids 
around her head. 

Lucia takes off her shawl, throws it on bed, and lays her bundles on table. Sitting 
down in chair by table, she slowly and with many grimaces of pain removes 
her tight shoes. Holds them up, they are very long and narrow grown-up 
shoes. She runs and sets them down at foot of bed near window. Comes 
back and sits in chair, center front. There are great holes in her stockings, 
which she regards ruefully. Song outside ends. Boys' voices call: "Dago! 
Dago ! " at Pietro, who dodges something thrown in window at him. He 
calls back: "Paddy! Yank! Sheeny!" Poor hard apple thrown in. Lucia 
jumps up, seizes it, and runs back to chair. Tries to find a good spot to eat. 

Pietro in the meantime picks up Lucia's new shoes while she is not looking and 
throws them one by one at children. Shouts outside. 



JUST PLAIN PETER 5 

LUCIA 
(Sitting in chair by table, wriggles her toes round in her stockings.) 
Ooch ! The mission lady's shoes hurt me Hke everything, Pietro ! 

PIETRO 

{Drawing tip chair, right, to table and sitting down.) 
Can't you go barefoot? We use to in Italia. 

LUCIA 
Not in America. 

PIETRO 
But you Jaave on stockings ! 

LUCIA 
{Sticks out feet. Laughs.) 
They aren't stockings any more. They're just holes ! 
{Children continue to make flowers.) 

PIETRO 
There wasn't ever holes before mother and father died. 

LUCIA 

(Nods.) 

And there was always stockings ! 

PIETRO 

And there was always time to have fun, too. (Listens eagerly to laughter 
out on playground.) I'm tired of making flowers, Lucia. (Throws them on 
Aoor.) 

LUCIA 

(Picks -Rowers up, soberly.) 

You needn't make any more. The man doesn't want our flowers. (Unties 
cardboard box and, leaving cover on table, puts box on chest of drawers.) He 
says we don't make them good enough. 

PIETRO 

(Claps hands and jumps up and down.) 

No more flowers! Then I can play all day! (Lucia looks troubled.) Aren't 
you glad, Lucia, we can play all day? 

LUCIA 

No, Pietro. That is, I'm glad for you, 'cause you aren't ver' well 

PIETRO 

(Hangs on her arm.) 

Why aren't you glad for yourself? 



6 JUST PLAIN PETER 

LUCIA 

If we don't make flowers we won't earn any more money. And if we haven't 
any money we can't buy anything to eat! {Holds up five cents.) That's all I 
have left. 

PIETRO 

What a lot ! Say, Lucia, I'm hungry now ! 

(Feels of bundles on table.) 

LUCIA 

(Laughs.) 

Me, too ! What you think I have here ? 

(Holds up package, which Pietro smells.) 

PIETRO 

U — urn! Oranges! (Looks serious.) I wish I was well enough to work! 
What'll we do when we haven't any money at all ? 

LUCIA 
(Wipes away tears.) 

I — don't — know ! Unless 

PIETRO 

(Goes over and pats Lucia.) 

Unless what? What are you crying for, Lucia? 

LUCIA 

(Smiles and wipes eyes.) 

I guess I'm too young to have such a big bambino! 

PIETRO 

Me? Bambino? (Scornfully.) 

LUCIA 

(Laughing.) 

Yes. You too big a baby for me to take care of! (Takes his hand.) Would 
you mind ve-ry much if I lended you to a lady till I grow big? 

PIETRO 
Lended me — to a lady? 

LUCIA 

If I rented you out — like a house. (Takes up box cover, which is already 

printed.) Get me the pen and ink. (Pietro brings them from chest of drawers 

and hangs interestedly over her while she pretends to print sign. Spells out 
letters slowly as she prints them.) "D-a-g-o b-o-y," etc. 



JUST PLAIN PETER 7 

PIETRO 

Why you say Dago? We are Italians. 

LUCIA 

They call us Dagoes. Maybe they wouldn't know what we meant if we said 
Italians. (Holds sign up so audience can see it and reads.) " Dago boy to let. By 
the week or month. Only mission ladies need apply." {When they have admired 
it she puts it in window.) 

PIETRO 

{Sits dejectedly by table. Rubs eyes with fists.) 

But rilhave to leave you. 

LUCIA 

Soon I be grown up. It won't be for long. 

PIETRO 
But how long? 

LUCIA 

Till I get work. (Pats shoMlder.) There! There, dear! {Laughter and 
shouts outside.) Maybe if a nice mission lady adopts you, you'll get big an' strong. 
An' perhaps she'll let you play with the mission children. 

PIETRO 

{Brightening.) 

Oh, will she? {Rubs eyes with fists again.) But I'd rather make flowers 
and stay with you ! 

LUCIA 

Nonsense! Come, I'm hungry, aren't you? Let's eat our dinner. 

{She brings plates, knives, and forks from chest of 
drawers, and while she is setting the table Pietro 
opens packages. Brings out four very thin slices of 
bologna or two small sausages. A loaf of bread and 
one orange.) 

PIETRO 

Only one orange ! {Disappointedly begins to peel it.) 

LUCIA 
Only one ! Oranges don't grow on trees in America ! 

PIETRO 
Where do they grow? 

LUCIA 

{Seriously.) 

On push carts. (Pietro offers her half the orange; she pushes it away, but 
looks longingly. Pietro still holds it out and finally she takes it.) Are you sure 
you don' want it all? 



8 JUST PLAIN PETER 

PIETRO 

{Looks at it longingly.) 

'Course not! (They set the two chairs dose to table, sit down and begin on 
orange.) I wish there was fairy godmothers in America. 



Why? 

I'd Hke three wishes. 

Me, too! 

You can have one of mine ! 



LUCIA 

PIETRO 

(Mouth full.) 

LUCIA 
PIETRO 

LUCIA 

(Earnestly.) 
Thank you, Pietro. 

PIETRO 
And you can wish first, too. (Looks eagerly at Lucia.) 

LUCIA 
No, you! (Both eating orange.) 

PIETRO 

All right! (Holds up forefinger.) 1 wish American children would play 
with Dagoes. I guess they don' know that we play games, too, in Italia. It's your 
turn. What you want most in the world, Lucia? 

LUCIA 

To stay with you always, Pietro. 

LUCIA AND PIETRO 

(Holding up three fingers.) 

Your turn ! (Both together, looking at their meager dinner and holding their 
arms wide.) Lots more to eat! 

(They finish orange. Loud knock at door. Pounding 
on -floor with flag, which is wrapped in paper.) 

LUCIA 

Perhaps that's some one to adopt you ! (Pietro, frightened, hides behind 
chair, right. . Lucia runs around room, hunting for her shoes. Whispers loudly.) 
Where my shoes? Where my shoes? (Loud knock on door. Lucia in agonised 



JUST PLAIN PETER 9 

tone.) Oh, I can't find my shoes. (Not finding them, and knocking continuing, 
she gets behind door and Pietro runs and gets behind it, too, and peeps out as they 
slowly open the door.) 

{Enter Mrs. Reilly, a stout, red-faced, pretty and smiling 
young woman, with her arms full of bundles and a 
palm-leaf fan, zvith which she fans herself vigorously 
when excited. She should be a good-sized girl of 
twelve and larger than the two children. She wears 
gaudy clothes and a gay, Hower-trimmed hat, two or 
three years old. She looks round and round the 
room and finally spies Pietro, zvhom she seizes by 
the ear.) 

MRS. REILLY 

Oh, there you are ! 

PIETRO 

Yes'm, Meeses. Here I am. 

{She crushes back against the door, where Lucia is still 
hiding. Lucia squeals. Let the action all through 
move slowly. Take plenty of time for dropping and 
picking up bundles, etc.) 



MRS. REILLY 

Rats! {Drops bundles.) 

PIETRO 

{Picks up bundles and hands them to her.) 

Please, Meeses, no. 

MRS. REILLY 

{Arms akimbo.) 

Sure, sonny, I guess I know a rat when I hear one ! {Leans against door. 
Lucia squeals again. Mrs. Reilly drops bundles again.) Didn't I tell you it 
was a rat? 

PIETRO 

{Earnestly.) 

No'm, Meeses ! Rats only comes where there's things to eat ! {Mrs. Reilly 
looks round the room while Pietro picks up packages.) Please come in. {Mrs. 
Reilly's eyes still search room.) Truly, Meeses. It wasn't one. 

MRS. REILLY 
{Advances boldly.) 
Well, there isn't a rat in the world I'm afraid of ! 



JUST PLAIN PETER 

PIETRO 

{As Mrs. Reilly finally comes in and sits down, right, 
Pietro very politely:) 

No, Meeses. But it wasn't a 

MRS. REILLY 

(Still looking.) 

Where's the other one? 

PIETRO 

(Stammers.) 

The other — the other — rat? 

LUCIA 

(Tiptoes across the room, rubbing herself ruefully.) 

It's lucky I'm thin ! 

(Slips into seat at left end of table while Mrs. Reilly isn't 
looking and tucks her stocking feet under her 
quickly.) 

MRS. REILLY 
No! Not the other rat! The other child. The little girl. 



PIETRO 

(Points to Lucia.) 

LUCIA 
MRS. REILLY 

LUCIA 

(Smiling delightedly.) 



There she is ! 

Here I am! 

Oh, there you are! 

Yes, Meeses. 



MRS. REILLY 
(Settling herself comfortably.) 
I didn't hear you come in ! You were as quiet as a mouse. 



JUST PLAIN PETER n 

LUCIA 

{Giggling.) 
Yes'ni, — Meeses, — or a rat. 

{Forgets and sticks out feet. Tucks them in again hurriedly.) 

MRS. REILLY 

(Squeals and tucks her feet under her. Turns accusingly to Pictro.) 

There, she's afraid, too! (Settles herself again.) I've just been over to the 
mission. 

LUCIA AND PIETRO 

(Breathlessly.) 
The mission? 

MRS. REILLY 

Sure ! And on the way home I says to meself I'll run in an' see how them 
two babes in the woods is gettin' on. Good, eh? (Taps on floor with Hag.) 

PIETRO AND LUCIA 

(Looking anxiously at Hag.) 

Pretty good, yes'm, Meeses. 

MRS. REILLY 

They just got in a foine box of things over there and, seein' as how I'm a 
neighbor, I brought ye over a few thriflin' thrifles. 

LUCIA 

(Anxiously.) 

Are you sure they're for us? We aren't American children! We're only 
Dagoes. 

MRS. REILLY 

Of course they're for you. It don't make no difference at the mission what 
you are 

PIETRO 

(Hanging over her as she undoes package.) 
Why do you bring us gifts? Is to-day a holy day in America? 

MRS. REILLY 
Sure, any day is holy enough to give presents. (Hands him a bright red tie.) 



12 JUST PLAIN PETER 

PIETRO 

(Enraptured.) 

You aren't Befana, are you? She gives little Italian children presents. 

LUCIA 

But no one ever sees Befana, Pietro. They just hear bell and cane. 

(Both children look around anxiously as Mrs. Reilly 
pounds on floor with Hag, then chuckles.) 

MRS. REILLY 

Are you afraid of her, then? There's nothing about me to be afraid of — 
I'm no Befana! What does she do to you? 

LUCIA 

She's big an' tall an' dark. An' she comes to little children. An' if you're 
good she brings you nice presents — An' you ain't afraid of her. 

MRS. REILLY 

(Unwraps a package.) 

Well, then, here's a pink hair ribbon for you! (Ties it on Lucia's braids.) 

(Lucia sticks out feet, tucks them quickly in again. Mrs. 
Reilly tucks hers under.) 

PIETRO 

But if you're bad, you're terribly afraid of her — because, if you're naughty, 
she brings you a bag of ashes. (Looks nervously at bag-shaped bundle she 
picks up.) 

MRS. REILLY 

(Chuckling.) 

A lady Santa Claus ! (She unwraps a suit of boy's clothes, which Pietro 
seises with a shout.) There, now! How's that? Eh? 

PIETRO 
Looka ! Looka ! Lucia ! 

LUCIA 

(Staring as Mrs. Reilly unrolls a bright-colored dress.) 
Looka ! Looka ! Pietro ! 



JUST PLAIN PETER 13 

MRS. REILLY 

Will you try 'em on now? (Looks at table.) I see you've finished your 
dinner. (Long pause.) 

PIETRO 

(In spite of Lucia's warning gesture.) 
No'm, Meeses, we haven't begun yet. 

MRS. REILLY 

Haven't begun! . . . You poor babes! (Puts down bundles hastily.) You 
can open the other things while I'm gone. I won't be a minute. (Exit.) 

LUCIA 
(Staring after her.) 
Isn't she beau-ti-ful? I wish she'd adopt you! 

PIETRO 

(Doubtfully.) 
Yes — but — I don't want to leave you. (Seises coat and starts to put it on.) 

LUCIA 

(Slips her dress on over her old clothes and backs up to Pietro.) 
Come here and fasten me up ! 

PIETRO 

(Dropping his coat unwillingly.) 
I want to put on my own things! 

LUCIA 

Hurry, hurry, Pietro, and I'll help you. (She helps him with his coat, which 
is much too large, then begins to open packages.) Here's a ball. (They throw 
it back and forth several times, then drop it for another package. Lucia unrolls 
rubbers.) These are funny kind of shoes! (Looks them over, slips them on, and 
scuMes around the room.) They'll hide the holes! 

PIETRO 

(Unrolls a doll. Scornfully.) 

A doll! For a big girl like you! (Flings it on table.) How silly! Do big 
girls like you play with dolls in America? 

LUCIA 

(Hopefully.) 
Do you s'pose they do, Pietro? (Puts out hand for it.) 



14 JUST PLAIN PETER 

PIETRO 

(Positively.) 
No, they can' ! 

(Lucia draws back hand, but looks eagerly.) 

LUCIA 
They must, or the lady wouldn't have brought it to me ! 

PIETRO 
But you don' have to play with it just because she brought it to you? 

LUCIA 

(Runs and seises it in arms and cuddles it.) 

I don' care ! I going to ! 

(Kisses it, while Pietro stares in scornful surprise. Sits 
down and sings the Italian Cradle Song which was 
sung in Part I. . While she is singing song the door 
opens and Mrs. Reilly appears, bringing a great bowl 
of Irish stew. Or cereal with milk and sugar. 
Stands there unnoticed till end of song.) 

PIETRO AND LUCIA 

(Run and clutch at her skirts.) 

Oh, goody ! Goody ! 

MRS. REILLY 

Look out there, now ! You'll spill it. 

(Sets it on table. The children sit at each end. Pietro 
sets third chair at middle of table, back, for Mrs. 
Reilly, who helps them to stew, smiling like a 
Cheshire cat. They eat ravenously. Lucia still 
clutches doll.) 

LUCIA 

We've all we can eat, now ! She must be Befana. 

PIETRO 
(Thoughtfully.) 
I think she's a fairy godmother. One of our wishes has come true. 

MRS. REILLY 
Eh, what? Me name's Reilly. (Points upstairs.) I'm from above. 



JUST PLAIN PETER 15 

PIETRO 

(Awestruck.) 

From — from — heaven ? 

LUCIA 

(Smiling.) 

Pietro think you an angel, Meeses Reilly. 

MRS. REILLY 

(Patting Pietro' s head.) 

Not so far up as that! One flight up and turn to your left. I'm only a 
neighbor from the mission house. (Helps them to more stew.) 

LUCIA 

, (Kisses her hand.) 

I think a neighbor's most as good as an angel ! You must be Italian, 
you're so kind. 

MRS. REILLY 

Sure, everybody's kind — Americans or Irish or Italians — but did ye ever 
knoviT an Italian by the name of Reilly? 

PIETRO 

No'm, Meeses. Are you Americana? 

MRS. REILLY 

(Proudly, hands on hips.) 

Sure, I'm Americana ! I'm from the ould counthry these four years come next 
January. An' so are you Americana ! 

LUCIA AND PIETRO 
Yes, Meeses Reilly. We've been over a year in America! 

MRS. REILLY 
(Putting hand on Lucia's.) 
What's your front name, dear? 

LUCIA 

(Cuddling doll.) 
Lucia. 

MRS. REILLY 
Lu-chi'-a! Lu-chi'-a ! Sounds like a sneeze! ... An' what's yours, boy? 



i6 JUST PLAIN PETER 

PIETRO 
Pietro. 

MRS. REILLY 
An' what sort of a name is Pi-a'-tro? 

PIETRO 
They call me Peter in school. 

MRS. REILLY 
Just plain Peter, is it? 'Twas the name of me own little lad. Peter. 

PIETRO 
Oh, may I play with him? 

MRS. REILLY 

(Wiping a tear.) 
He's in heaven, dearie! 

LUCIA 

Mother and father's in heaven, too. * 

PIETRO 
Maybe your little Peter is with my mother, Meeses Reilly. 

MRS. REILLY 

Maybe so, darlin' ! An' her two blessed children are here wid me! (She 
wipes eyes two or three times, then to hide tears hastily unties package and dis- 
closes red geranium plant, which she shows children.) Ain't this pretty? 

PIETRO 

(Pushing it away, points to a few artificial Howers on 
table and throws them to floor petulantly.) 

We're tired of flowers ! 

MRS. REILLY 

Sure you are! But I'll just put this in the windy. It'll brighten up things 
some ! (Keeps back to audience while she wipes her eyes. Discovers sign, brings 
it to front of stage. Reads slowly.) " Dago — boy — to — let. By the week or 
month. Only mission ladies need apply." (Turns round excitedly and points to 
Pietro.) Do you mean him? Pi-a' — Pi-a' — just plain Peter? 

LUCIA 

(Clasping hands rapturously.) 
Oh, yes! Yes! 



JUST PLAIN PETER 17 

PIETRO 
(Shrinking back.) 
I don't want to leave Lucia! 

MRS. REILLY 
To keep? Always? 

LUCIA 
If you want him! Will you adopt him, please? He isn't very strong. 

MRS. REILLY 
(Drops sign excitedly.) 
But 3'ou (to Lucia) How about you? I want a girl 

LUCIA 

I'm all right ! I can get work ! 

(Pietro looks anxiously from one to the other as they 
talk on.) 

MRS. REILLY 

(Standing, hands on hips.) 

If it don't beat all ! Here's them two children downstairs needin' a mother 
all the time — an' me upstairs needin' some children — all for missing my little 
Peter so! (Points to Pietro.) That boy there is the livin' image of my Peter, 
barring my Peter's hair was red and his is black ! An' my Peter's eyes was green 
and his'n are brown. An' my boy was most as big as meself and I could put 
that little feller in me pocket! Sure, if it wasn't for that he'd be the livin' image 
of my Peter ! 

PIETRO 

(Drawing back as she puts out her hand to him.) 

But I can't leave Lucia ! 

MRS. REILLY 

(Looking lovingly at Lucia.) 

But my heart was set on having a girl ! I've always wanted a girl— and you're 
the Uvin' image of her ! 

LUCIA 

(Anxiously.) 
But a girl couldn't help so much ! 

MRS. REILLY 
An' why not? You can wash dishes an' sew 



i8 JUST PLAIN PETER 

LUCIA 

{Interrupting.) 

Pietro can wash dishes like anything, and I'm most sure he could sew if you 
taught him! 

{Pietro looks hack and shakes his head at Lucia.) 

MRS. REILLY 
But a boy's always out in the streets 

LUCIA 

{Interrupting.) 
But Pietro loves to stay in; don't you, Pietro? 

PIETRO 
No, I don't ! And I hate to wash dishes ! And I won't sew ! 

LUCIA 

{Grieved.) 

Oh, Pietro ! The lady would have given you such a nice home. And you'd 
have time to play, too, maybe. 

{Mrs. Reilly nods vigorously.) 

PIETRO 
{Obstinately.) - 
I don't want to leave you, Lucia. 

MRS. REILLY 
There, you see ! He won't come. I've just got to have you, Lucia. 

LUCIA 

{In despair.) 
But you can't have me ! - 

MRS. REILLY 

{Grieved, puts her arm around Lucia.) 

Don't you like me, dear? 







LUCIA 


Oh, I love you! 


But 


{Softly.) 
MRS. REILLY 


But what? 







JUST PLAIN PETER 19 

LUCIA 
But who'd take care of Pietro? 

MRS. REILLY 

(Relieved.) 

Oh, is that it? You thought I only wanted you? I've room in me heart for 
a dozen of ye ! 

PIETRO 
Do you want us both? 

MRS. REILLY 
Sure I want you both ! 

LUCIA AND PIETRO 

Both of us! Oh, Lucia! Oh, Pietro! Both of us ! 

(They hop around tlie room with joy. Lucia hugs Mrs. 
Reilly and Pietro kisses her hand shyly.) 

MRS. REILLY 
We'll have a grand time, the three of us ! 

LUCIA 
And Pietro and I can be together always ! 

PIETRO 
{Pause — then earnestly.) 
Two of our wishes have come true! You must be a fairy godmother! 

MRS. REILLY 
{Surprised, looks herself up and down.) 
A fairy, is it? An' just why do you think me a fairy? The size of me an' all! 

PIETRO 

We made three wishes just before you came and now two of them's come 
true ! You brought us something to eat 

LUCIA 

An' Pietro an' I'll always be together! I guess you must be a fairy god- 
mother, Mrs. Reilly! 



20 JUST PLAIN PETER 

MRS. REILLY 

(Laughs loud and long.) 

Me a fairy godmother! You mean a grandmother, don't you? I'm fifteen 
times too big to be a fairy — an' for that matter, I'm fifteen years too young to 
be a grandmother! But call me Granny if ye like — though I'm only thoity-one ! 

PIETRO 

So old? (Goes up pleadingly.) Won't we have to make flowers any more? 
Can we play sometimes? 

MRS. REILLY 

Play, is it? You poor babes! Sure, you'll have plenty of time to play! 
Mornin's you'll be goin' to school an' in the afternoons you can play your fill 
on the playground at the mission. (Nods head toward window.) 

PIETRO AND LUCIA 
(Clapping hands.) 
Oh, Granny! Can you make our third wish come true, too? 

MRS. REILLY 

(Pluming herself.) 

Well, now, did ye ever? An' what moight the thoid wish be? 

(Shouts of children outside.) 

LUCIA 

That those American children would play with Pietro and me sometimes. 
(Runs to window.) 

MRS. REILLY 

(Indignantly.) 

An' won't they play wid ye? 

PIETRO 

(Bristling.) 

No, they won't! An' they call us Dagoes 

MRS. REILLY 

(Angry.) 

Dagoes, is it ! An' they ain't any more Americans than the two of ye'se are ! 
(Goes to window, drawing Pietro and Lucia with her. Points finger out window.) 
-Maybe they was born in America, but their parents are Irish, an' Jews, an' 
Swedes, an' Hungarians. Just see that little Dutchman ! An' sure as I'm alive 
if there ain't Greece an' Thurkey a-fightin' together ! I guess if Greece and 
Thurkey can fight together, you can! (Leans zvay out the window with arms 
around Pietro and Lucia.) Children! Come up here! Come up here a moment! 
(Pietro shrinks back.) Don't be afeard, Pietro; I know 'em! 

(Cries of " Dago ! Dago ! " and Lucia's shoes are thrown 
one by one through window.) 



JUST PLAIN PETER 21 

LUCIA 

(Staring at them.) 

Why! Those are my shoes! (Shakes finger at Pietro.) So that's where 
they were! (Slips them on.) 

MRS. REILLY 

A new pair of shoes ! Ain't that foine ! I thought you said them children 
wouldn't play wid ye? 

LUCIA 

(Limps over to Pietro.) 

They ain't presents. Confess, Pietro! (Looks at Mrs. Reilly dubiously.) 
Perhaps she (points) won't want you now ! 



PIETRO 

(Shamefaced.) 

They Lucia's shoes ! They hurt her — an' — an' I threw 'em at those naughty 
children ! 

MRS. REILLY 

Hoity-toity ! (Laughing heartily and faking Pietro by ear gently.) Naughty 
children, indade ! An' you after throwin' Lu-chi'-a's shoes at 'em. The Irish 
only throw shoes at a weddin'. (Looks at Pietro searchingly.) An' what else 
do ye throw at 'em? Hard words, no doubt? (Pietro nods.) An' stones, maybe? 



PIETRO 

(Nodding head violently.) 
Yes'm, Meeses, Granny. Sometimes. 

MRS. REILLY 

(Laughing comfortably, still holding Pietro by ear.) 

You're just as naughty as they are ! You've got to be kind yerself if ye 
want people to love ye! Did ye ever try to make them children like ye? Did 
ye ever do anything pleasanter than throwing Lu-chi'-a's shoes at 'em? Did ye, 
now? 

PIETRO 

(Shamefaced, yet smiling.) 

No'm, Granny ! 

MRS. REILLY 

Thry it, thin ! Why, it was some children like them that sent Lu-chi'-a's doll 
and your foine suit of clothes! (Looks at him kindly.) You're a rale boy, for 
sure, if you are a Dago! 



22 JUST PLAIN PETER 

PIETRO 
Not Dago, Granny ! Please. 

MRS. REILLY 

Well, if ye are Italian! {Pats him.) An' when I wants a boy, I wants a rale 
one ! But no wonder the children won't play wid ye ! — Befana would bring ye a 
bag of ashes, sure ! 

(Children outside sing one verse of "The Red, White, 
and Blue." Or mission song if preferred.) 

MRS. REILLY 

(Nods head to music and sings with them.) 

How pretty they do be singing! (Pietro and Lucia nod.) Will ye be after 
^rowin' Lu-chi'-a's shoes at 'em now? 

PIETRO 

(Smiling.) 
I can't, Granny ! She's got 'em on ! 

LUCIA 

I know what we'll do ! (Runs to chest of drawers and brings back box of 
■flowers.) Come, Pietro! Let's throw these flowers at 'em! 

(Pietro claps hands joyfidly.) 

MRS. REILLY 

(Nods head.) 

Good ! That'll be f oine ! Let's see for wance what kindness'U do ! 

(Children sing second verse. Lucia and Pietro throw all 
their iiowers out window. Song stops. Lucia and 
Pietro hide behind Mrs. Reilly as she beckons to chil- 
dren. They troop up into the room, crying:) 

Good afternoon, Mrs. Reilly. 

MRS. REILLY 
You're all children from the mission, aren't you? 

CHILDREN 
Yes'm ! 

MRS. REILLY 

(Shaking finger at them.) 

Well, I can't say ye've been acting very much like mission children ! 
A-throwin' old apples at these little Italians ! Now, have you ? 



JUST PLAIN PETER 23 

CPIILDREN 

{Hanging heads.) 
No'm! 

MRS. REILLY 

Now, I want you to be real nice to them. They're comin' to live wid me an' 
be my children. This is Lu-chi'-a and that's — just plain Peter. 



ANDROMACHE 

(Coming forward.) 

I'm Andromache. Will you come to our mission school with us? {Takes 
Lucia's hand.) We have such good times over there ! 



MRS. REILLY 
Of course they will ! And you must show them how to play your games. 

A BOY 
We didn't know Dagoes played games. 

■{Goes over to Pietro.) 

MRS. REILLY 

Sure ! You must get Pietro and Lucia to show you some of the games they 
played in Italy. They do be after tellin' me 'tis a foine counthry wid pitchers 
an' statutes an' olives. Maybe you weren't always Americans, neither ! 

ANDROMACHE 

{Eagerly.) 

My mother came from Greece. She says it's a beau-ti-ful country, only she 
likes America, too. 

OTHER CHILDREN 

Mine came from Turkey. {Andromache and Turkey fall to fighting at one 
side.) 

We're Armenian. 

I'm Dutch. 

I'm from Sweden. 

We were Russian Jews. 

{Mrs. Reilly separates Turkey and Greece.) 



24 JUST PLAIN PETER 

MRS. REILLY 

And me from Ireland — but we're all Americans now ! Didn't I catch sight 
of an American flag? (Child waves it.) Come, now, let's all be salutin' it! 
(Children salute it.) 

" I pledge allegiance to my flag and the republic for which 
it stands, one nation, indivisible, with liberty and justice 
for all." 

MRS. REILLY 

(Takes long, thin package from table and unrolls Christian Hag.) 

I have a flag, too. Let's be after salutin' that! (Holds it up and children 
salute it.) 

" I pledge allegiance to my flag, and to the Savior for 
whose kingdom it stands, one brotherhood, uniting all 
mankind in service and love." 



MRS. REILLY 

Now we'll be singin' another song. 

("My country, 'tis of thee." Children all take hands and 
circle Mrs. Reilly, who holds the two Hags aloft. 
They throw their flowers at her and the Hags.) 

INTERMISSION 



PART III 
OLD TRADITIONAL GAMES 

If it is desirable. Folk Games and Songs may be played by the children 
at the close of the entertainment. These may be played on the platform by the 
children in costume, or in a room where other children may join in the games. 

There are many Folk Games and Songs popular with every group of children 
which are " world-old and world-wide." They serve to unite the play life of the 
children on both sides of the water. Among these the best known and most 
suitable for use on these occasions are : 

Mulberry Bush 

This is one of the oldest traditional games and probably one of the best 
known. It is considered to have originated as a marriage dance around a sacred 
tree or bush. 

London Bridge 

This very ancient game is supposed to have originated after the custom of 
making a foundation sacrifice at the building of a bridge. 

Oats, Peas, Beans 

This game is supposed to have its origin in a song sung to the earth gods at 
the t'me of seed sowing to promote an increase in the growth of crops. 



JUST PLAIN PETER 25 

The full description of these games may be found in Games for the Play- 
ground, Home, School, and Gymnasium, by Jessie H. Bancroft. Book will be 
found in most public libraries. The authority for statements made about the 
games is hereby credited to that source. 

Other games from this same book which are very appropriate are the fol- 
lowing : 

Greek Game, " Brazen Fly," or "' Blind Man's Buff " . page 55 

Italian Game, '' Chicken Game " page 66 

Danish Game, "Slipper Slap" page 179 

Games suggesting Holland may be improvised, such as Windmill Motion Play. 
One child stands behind another, holding out arms at different angles, waving 
them like windmills to music. Any movement like waves or wind in the laranches, 
birds flying, etc. Games like Jumping Rope and Rolling Hoop can be set to music 
and are simple and pretty, not requiring special costume. 



END 



COSTUMES 

All peasant costumes are very much alike, and hard to differentiate. 

Norwegian 

Girls: Long, dark skirt; white waist; dark bodice, embroidered at bottom. 
Square of white cloth pinned around forehead. 

French 

Girls: Pinafores, tightly braided hair. Bretonne. Coif; a quaint starched cap 
of muslin, embroidered. Full, long skirt. Tight-fitting waist. 

Boys: Tunic of black cotton, like a pinafore in shape. Leather belt and flat, 
peaked cap. 

Swedish 

Girls: Long, blue, full skirt, green border. Bodice like a high belt, laced to- 
gether with red ribbons. White blouses. Red handkerchief round neck. 
Dark apron, striped with yellow, red and white and blue. Black peaked cap, 
with red trimming and red tassel. Girls wear hair in long braid. 

Men: Long coat to knee. Knee breeches. White woolen stockings. Boys wear 
yellow clothes. 

Russian 

Girls: Long skirt. White blouse with full sleeves. Head-dress crescent-shaped. 
W^hite waist. Red, white, and blue striped apron. 

Boys: Blouse of gray or brown cotton or woolen, loose to waist, where it is 
gathered to a cord or very narrow band, below which it forms a full short 
skirt 6 to 8 inches wide. Trousers tapering to feet, same material as 
blouse or darker. Coarse shoes. Cap may be used, flare top and small vizor. 

German 

Girls: Long, dark skirt; laced bodice; white waist and apron. 

Boys: Woolen blouse of dark blue ending with band at waist. Trousers can 
extend to coarse shoes, or can go inside leather boots reaching nearly to 
knees. Rubber boots may be substituted for leather. 

Greek 

Girls: Simple, loose dresses. Do not wear costumes. Albanian women wear 
long robe, edged with embroidery, girdled in loosely at waist. Short woolen 
jacket, with black border. Coins around neck. 

Boys: Blue and white checked cotton coat, which fits to waist and below belt 
hangs in full ruffle like a short skirt. Back and front of blouse put into 
yoke. Full sleeve, gathered into cuff. 
26 



JUST PLAIN PETER 27 

Hungarian 

Girls: Small red shawl over head. Black skirt, made wide and short to knee. 
Some districts wear multicolored dresses like flaming flowers. Gay, tight, 
short, sleeveless bodice. Low-necked chemise, full wide sleeves reaching 
to elbow, tied with red ribbons. Leather slippers or barefoot. Simple apron 
of lace or silk. Girls wear hair in long braids, plaited, with bright ribbons 
falling to skirt. Eight or ten strings of colored beads. 

Men: Clothes white. White shirt, cut low at neck. Colored waistcoat. Trou- 
sers to knee. Leather coats or capes worn over one shoulder. 

Holland 

Girls (plump) : Bright, figured, tight-fitting waist; very full skirts to ankle; tight 
lace caps, stiffly starched, with piece like wings at each side. 

Boys: Loose patched trousers, very full, tapering to feet. Round, high, tight 
coat to waist of red or blue. Large silver buttons at belt, wooden shoes, 
striped waistcoats. (Men.) 



ITALIAN CRADLE SONG 



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p: 



Adapted and simplified for the use of a Juvenile Class by E. de Campi. 
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of apron striped with bright colored cambric or ribbon. Head-dress, white piece i ft. long, s or 6 in. 
wide striped across width with bright colors. 

Action.— Sit on chairs with babies on lap. Spin with distaff, keeping time to music. Distaff made 
with any stick (round like broomstick) 2 ft. long. Cover at top 9 or 10 in. with flax (rope raveled), and 
tie at top and bottom of flax with bright ribbon. 

28 



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